Walrus Comix Proudly Presents: An exclusive interview with NYC's finest... The mega-talented... LOOOOKER!!!!

Looker burst onto the New York scene in 2003 just as NYC was entering into the initial phases of major Strokes fatigue. Their actively catchy tunesmith-ery, heavily influenced by the likes of early bad-girl pop icons 'The Shangri-las', as well as pre-disco Blondie, found instant favor with audiences hungry for a sound with a  cheerier disposition. The early wave of NY bands that had been heralded as saviours (strokes, Interpol, yeah, yeah , yeahs), well, they wound up being red herrings all. Maybe it was that laden association with 9/11 and all the baggage no one wanted to talk about, or maybe people just wanted to dance again - whatever the reason, Looker and their burgeoning collection of instant classics appeared to be the logical choice as the next saviours to be.

5 years, 2 albums, and several terrific singles later, they are still on the scene, recording new music for an album and assembling THE troops for their next campaign. They are not at saviour status yet – and I mean YET, emphasizing the word YET – but they've definitely got the goods.

Boshra and Nicole's vocals blend together like a latter day Don Henley and Glenn Frey – if you'll pardon the association to the Eagles – and their once jittery, spare instrumentation has given way to a decided musical maturity and assuredness that is absent in most bands today. The addition of AJ Lambert on bass has really helped this cause, as she brings with her a power and FINESSE on her instrument that recalls both McCartney and Carole Kay from 'the wrecking crew'. Rounding out the mix is Robbie Overbay's unique backbeat. Starting off as guitarist, you can feel that inherent sense of musicality in the way he plays. 

For more Looker news, music and general Looker-ness take a swing by http://www.myspace.com/looker or http://www.lookernyc.com

So Boshra, before you started up Looker with Nicole, you rocked hard in a band called Panda, which included none other than Walrus Comix editors – Bran and Ansley Lancourt (along with Eric 'The Shield' Slovin). What did you take away from that experience; stylistically, musically, personally and otherwise? Is there a difference being in a mostly female environment, as opposed to a steaming cauldron of rutting testosterone?

I was in Panda and all I got was a lousy T-Shirt!  I left with a lot of stuff--a lot of very educational experiences. And the desire to do it again. It really made me realize that what I wanted the most was to be in a band.

And yes it's different. I'm not constantly walking into penises all the time during rehearsal. Now I stumble into vaginas. I can't really compare. People are different. How's that for a profound statement?  

Nicole… when I first met you years ago, you were an academic. You had been overseas teaching, and definitely sported a more buttoned down style. Boshra had showed me some songs of yours around that time, and they were definitely in the folk vein. When I saw you years later in Looker, I was really taken aback at how charismatic and extroverted you were. Tell us a bit how you transitioned from the more reserved folk – academic, to your current state of rocking triumphance.

Thanks. 'Academic' is surely a term that has never been employed in the same sentence as my name before. I do like a sharp buttoning down every once in a while for sure. I suppose I always had a wild streak running through my veins, I just declined its every impulse until the moment Boshra and I decided to form a band.

Robbie, you started out as a guitarist in Marwood and came out of that whole 'hold steady' scene, what made you decide to switch to drums, and how do you think it impacts on your style?

I started on drums when I was 10 yrs. old, playing along to The Hold Steady records.That was about about 3 years before I started guitar.  I hadn't played drums in a band in a very long time and, in fact, didn't have much interest in doing so until I heard Looker's music. It took me a moment to get back in shape, but I just felt I had something worthwhile to contribute.

"...yes it's different. I'm not constantly walking into penises all the time during rehearsal. Now I stumble into vaginas."

AJ, you've really been a turbo boost as far as Looker's 'bass guitar' department is concerned. As a bass player myself, one of the first things that struck me upon listening to the new stuff, was how great you played. I can definitely hear a McCartney influence. What other players have influenced you? The texture of the sound feels very warm and chewy. Do you play with flat wound strings?

First of all, thanks!  i'm flattered.  i am very influenced by carol kaye - she is the best in my book.  and paul ain't bad either!  i guess what i love about both of them is the way they blend the percussion aspect of the instrument with the melodic.  and no, i don't play with flat wounds on my own bass, but a couple of the basses i played on the recordings had flat wounds on.

Boshra, when you first hit hard onto the scene, it really seemed as if you were set to take off in a big way. There were major rumbles of label interest, and you quickly developed a devoted following of lookermaniacs. When your album 'Born too Late' was released, it was universally praised, with impressive mentions in heavy hitting music magazines such as Rolling Stone. Then it seemed to me right in the midst of all this momentum, you seemed to pull back on the reigns a bit. In fact I remember seeing an interview where you all derided the idea of being on a major label.

Am I right in this perception? Did you intentionally pull back a bit from all the hype? Where do you see this band ultimately headed as far as commercial/indie impact is concerned? Moreover, what is your opinion on the current state of the music business, and how do you see your band navigating those murky waters?

That's a nice spin on it! I think there was some interest. We worked with some amazing people, like Richard Gottehrer and Joe Blaney. Back then it was a different band. And the songs we did sounded great. But... it didn't line up.

And we continued doing what we always do, which is writing and recording and performing music.

Does anybody know what's really going on with this industry? I think we're all done musing over it. We're just gonna keep on keepin on for as long as we can.   

Nicole, same question: Where do you see this band headed as far as its ultimate impact on the musical landscape?

To Europe. Or maybe Latin America. I think that we have  a lot of influences compounding into one band that I've never really heard explored before. I just want as many people as possible to hear the new record and hopefully also be bowled over by a sound that is not easy to define. Then come see us live and be bowled over some more.

Robbie, what are the perks, drawbacks to holding down the masculine fort in a girl band?

There are girls in this band?? They just look and play and sound like great musicians to me. I hadn't noticed any gender.

Boshra, when I first heard 'Tickle My Spine' and 'Someone Elses Hallways', I thought, 'Shit, she just wrote 2 fucking hits'.. Then when I heard 'Radio' and 'Gregory' I thought, 'There's no way these guys aren't gonna be the next big thing'… The stuff was active in its catchiness, heavy on the melody and bare bones as far as playing was concerned. The new stuff I've heard, is far more introspective and stretches out like large cat waking up from a long nap as far as musicianship is concerned. How do you account for this change? Is it just a matter of you getting better on your instruments, or was there a deliberate decision there to take a more musician-sy, less aggressively commercial approach?

We have a different lineup now (AJ joined about a year ago and Robbie joined 2 years ago) which definitely contributed to the evolution of our sound. We've also been doing this for a while, and Nicole and I don't like to stay in the same place too long in terms of songwriting. And honestly, I started focusing on my instrument a lot more in the last few years. Chords are fun, don't get me wrong, but it's important to keep looking around and trying different things out. It hasn't been premeditated at all, which is why I love this band. It's all very organic and natural. Like Summer's Eve. Douche bags, all of us. 

Nicole, how do you feel the songwriting styles/approaches of yours and Boshra's DIFFER and how are they SIMILAR?   

I tend to be very impulsive and prone to highly creative or non-creative moments. Ultimately I think our styles complement each other and always bring the songs to places that each of us couldn't do on our own.

Robbie, are you the type of drummer that takes umbrage when given direction, or are you happy to accommodate your fellow musicians? I would think being a guitarist, you'd be a different kind of drummer..

We all have input for what everyone is doing because we're all concerned about serving the song.  That being said, we all 4 respect each other and our abilities and our natural instincts toward our instruments, which leaves a lot of freedom for us to each do what we feel. For the drums? I just ask myself, "What would Tommy Lee do?" That's how I generally end up with blisters and nausea.

Me and my brother first met Erik 14 years ago downtown at some smelly east village club -  I think it's called Nice Guy Eddy's now. We both shared the bill - they were great that night and we blew. He was in an incredible band called Lizard Music, and we were in Johnny Bravo. They were just about to head to Chicago to record with Steve Albini  -  their debut album 'Fashionably Lame' on World Domination Records. We became instant fans of theirs, and still are to this day.

To all of you  - How has it been working with Erik, being a very accomplished songwriter and musician in his own right, one would think he'd have some very strong opinions as far as production and arrangement are concerned. Is he very hands on?

(Boshra): Erik is a huge talent and we're lucky to be working with him. He has great ideas and knows when to persist and when to pull back. He's actually playing some piano on this record.

(Nicole): He's put the Papparazzi stamp on the songs while keeping our sound intact.The songs have a new element that I love and working with him has been extremely fulfilling.

(Robbie): Erik's opinions are just as strong as ours...luckily, we have the same opinions. Working with both Erik and Travis Harrison for these most recent recordings has been a tingly and satisfying experience; a sincere sensation. I prefer it when they are both "hands on."

Boshra, you've traveled overseas quite a bit with your band, playing on the BBC, and building up your following over there. What's been the ideology behind concentrating on playing overseas as opposed to here in the States? Do you feel more kinship with our foreign brethren?
We get more love in the UK, pure and simple. Maybe it's because a lot of our influences are British. Maybe it's because we're from New York. Maybe it's the drunken 18 year olds. Or maybe it's because they feel bad for us poor Americans with the weak dollar. Whatever the reason, we love it over there and plan on going back in the fall. 

Nicole, you seem to be a natural performer, which do you prefer playing live, or recording?

I love both. Playing live would have to be my choice though if I could only do one. There's nothing like the feeling of feeding off the energy only an audience can bring.

AJ, you started off as a solo artist, do you prefer playing in a band? It's a whole different gestalt that's for sure.

Until i met this particular group, i would have said i prefer doing stuff on my own.  but this gang is the best, and i love playing with them, more than any other band i've been in.  it's also the first time since i was a drummer that i've not been focused on singing, and that's a good thing.  i'm really enjoying playing these guys' fantastic songs.

Boshra, what's the current label situation for Looker? I see that you're working with Serious Business Records, are they you official home?

"These have been a couple of dark years and I think you can hear that in the songs. That being said, we here at Looker do love an upbeat pop song you can dance to with your grandma in the kitchen as well."

Here in the States Serious Business is our official home. They get us and our approach. And Travis Harrison is a very nice and manly man. 

I remember meeting those guys in Panda through the scene. At that time Travis and his then-girlfriend and now- wife had just graduated from Columbia.

After independently releasing two EP's and a full length we decided it was time to find some like minded people, and Travis was the obvious person to talk to. I visited him in his studio in SoHo and asked him outright if he wanted to work with Looker and he thankfully said yes. We decided to try a single, with Erik on board producing, and the experience was magic. It's gotten even better with each recording.  The two of them are like friggin Martin and Emerick over here.

Boshra and Nicole, listening to the new stuff, I can't help drawing parallels and metaphors all over the place. It seems like your earlier efforts were lighter and more celebratory. In the midst of the dark times our country has inhabited over these past years, your music almost seemed like a collective 'whistling past the graveyard' – New York's resident Neros playing the fiddle while everything burned around you

With your more recent work, it feels like an emergence, like the light at the end of the tunnel is near, and now's the time to figure out where the hell we're all going. The themes are more reflective -  with songs like 'help me Roada' and 'Born in the desert' -  yet they can be extrapolated to a more societal scale. In fact Boshra, being Syrian, it's hard not to feel like you're not using your own personal experience as a metaphor for what's going on in a global sense. Are these themes that you both thought about while preparing for this new album?

(Boshra): Hmmm… After living in NYC for as long as we have the shit is bound to get dark! What we're doing is not easy, and we're all a little older now. There are definitely some more somber themes in the music. Nicole and I were both born in the Middle East. It comes up sometimes, but so do a lot of other aspects of our lives. It's funny, 'Radio' was reviewed on NPR last year and no one picked up that it was a song about Palestine. They thought it was something totally different, which is cool. I like that.  Everything ends up being personal, whatever the framework.

(Nicole): I am definitely influenced by what is going on in the world as well as on the corner. These have been a couple of dark years and I think you can hear that in the songs. That being said, we here at Looker do love an upbeat pop song you can dance to with your grandma in the kitchen as well.

This leads to the question to all of you – What's next for Looker? What is your mission statement if you will?

(Nicole): Completing the album and then touring for as long as we can.

(Boshra): http://www.myspace.com/jnhprod